By Helena Buffery, Carlota Caulfield
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This number of unique essays presents an leading edge and multifaceted mirrored image at the impression and idea of the scholarship of eminent anthropologist Marilyn Strathern. A exclusive group of foreign individuals, all former scholars of Strathern, give some thought to the effect in their courting with their instructor and tackle the broader conceptual contribution of her paintings via their very own writings.
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Additional info for Barcelona: Visual Culture, Space and Power
This event, I will argue, opens an instructive view onto the ways in which surrealism was presented and received in Catalonia, and prepares the ground for critical reﬂection on the cultural and sexual politics of orthodox surrealism. The most obvious point to make about Breton’s text is that it was written and given in French. Indeed, in his preamble Breton offers a candid admission about his knowledge of Spain: ‘nous sommes à Barcelone, et mon ignorance parfaite de la culture espagnole, du désir espagnol, une église en construction qui ne me déplaît pas si j’oublie que c’est une église,3 votre climat, les femmes que je rencontre dans la rue, ces femmes qui me sont si délicieusement étrangères, déconcertent un peu mon audace’ (Breton, 1988, p.
Originating in Paris, with the Huelva-born painter Manuel Duque (1919–98), it involved the practice of intuitive painting – close to calligraphy but, above all, what we would call performance action today. The painter Antoni Angle (1924–) was in Paris at the same time, and returned with Duque in 1960 to Sabadell, which is where Gallot was formed. Sabadell’s Academy of Fine Arts had a Salon of Contemporary Art that exhibited works by Tàpies, Hernández Pijuán and the Gallots, including Angle, Llorenç Balsach (1953–), Josep Llorens (1892–1980) and Alfons Borrell (1931–).
Position: 8 / Date: 2/5 JOBNAME: Barcelona PAGE: 11 SESS: 12 OUTPUT: Tue May 15 14:14:06 2012 Breaking Boundaries: A Journey through the Catalan Avant-Garde 19 1988, pp. 22, 250). Many of these ﬁgures have been reclaimed in more recent exhibitions that have sought to extend the remit of Catalan surrealism beyond its most emblematic ﬁgures internationally: Miró and Dalí (Cirici, 1975; Santos Torroella, 1977; Malet, 1988; Parcerisas, 2009). However, it is perhaps the relatively forgotten ﬁgure of Cristòfol who had the most lasting impact on the development of Catalan visual poetry, in his relationship with Viladot, explored later in chapter 3.